112 J:"RENCH LEAD CRYSTAL CROUCHING CAT 7 1 2 LONG $110 SPARROW 4 1 2 LONG $18 50 SITTING CAT 8 HIGH $110 @ , ,: 'NJ' ,- ....:w ,..." F;j l'4 " ,,,:,,t ", ' , $I" ' , ,,'" .";/',' ::<!'" j; ... .':&V ''':'< ",, .., L ", ':,' .. ' ), , 'À'J' It \. ^=, I '-.: ,"tj; ') i';::" .... ::::.... 1i' ";::... \ '" :.:. -::::::" t. ". N': " ... , " ;t:, : '>x.;...... i.. "y : W;', : ..;::: .." "'-' :=" WRITE FOR BROCHURE & NAME OF ! ç R Y lIIðuzAl' NM> < f. f-I t i- ' øti\ }L ,ii \,\ ^ttf ,\.. y ",' ^7 ... "' , ".':' (. ,. ,y'l' "" ""' -:> :' "V\ '1! \ '\f=' , " t. l \" t ,s:, 1- \.. - .... h> '" -> :t: . .. :::-4 0( -.:/ -tt : ì ð- :..^ ' -- ' -\ I " <'; p. \ " 2'!i ;;. "'"' "" J't>. <':::;;i" " $> \ 9 COGNAC vet., _ :$' ... \. ';;\' t-'" W '.J : t'" ,.. . "'.. "- -....; ',' .e:. ----, """ " ;, ^"v ;. , .. t / '" ,< ';11]t 'À -- I ;/ ' A " ";t, · 'l- , .. ...;:,*') ,, ,.' ''' 1>. i I . t..1i:.'- ^ . ' > \:\ i- I / I -, ,- . .... .. ."');: "'''..... / ^" I h..t, Þf(Jþ ;it{,. 4.". "f 7 :;. . >>; H,:- 4\ , " ?' þ >.. "t I;L" + ,. w .. .,\1: , .-:: ++ "<>' <' . __ :.;.h ': L ,,"'ý '/ . :MÞ "".,. ,,h N/l/}" . ",. 'NV " é ,' ;;:i 4t iføJ; ,:," " 4-'('( lQtç ': " .'.. " ,f ", ;WJi """ ::"" " \\-3>' ;l ,"^ f'" .,-. ,;' } ,;' .. "'l \ '" '" the staffs. Marks that fell outside the staffs, he decided, were to be consid- ered noises made on the body of the piano. He began leaving more and more of the decisions about tempo and dynamics up to the individual perform- er, for he had reached the conclusion that chance methods of composition in themsel ves were not sufficient to his purpose. Once a composition had been arrived at by chance methods, the re- sults were fixed for each performance. In works that left some decisions up to the performer, though, It was possible to arnve at results that the composer could not foresee-music that was truly indeterminate. Going further along these lines, C,age wrote five instru- mental pieces that were meant to be performed together hut that were not related except in time; the longest piece set the performance time, and players of the others could enter in at will Cage's idea was that the parts could go to- gether like the elements of a Calder lTIobile, moving independently but re- lated by their presence in the same time structure. )\ later method of composi- tion carried indeterminacy a long step further hy giving each performer the materials with which to compose his own score-a score that would neces- sarily be different for each perform- ance. These materials were in the form of transparent plastic sheets on which Cage had Inked lines, dots, and amor- phous shapes that were understood to refer to the various sound-producing means; when the performer supenm- posed one sheet on another, the in- tersections of the lines and dots and amorphous shapes would give him the O f . h dd " " In ormatIon e nee e to compose the piece. In 1955, an energetic entrepreneur named Emile de Antonio, who was at that time the director of the Rockland Foundation, an arts center in the neigh- borhood, heard some of Cage's pieces and decided that the local populace should be exposed to the work of one of its more illustrious members; accord- ingly, he arranged and promoted a Cage-Cunningham concert in the audi- torium of the Clarkstown High School, in New City. The concert took place on October 15th, a night of such torrential rains that the police warned Rockland County residents to keep off the roads, many of which were washed out. De- spite such dire portents, the Clarkstown auditorium was filled to capacity with a crowd that was a mixture of local music lovers and avant-garde paint- ers, dancers, and loyal Cage and Cun- ningham partisans who had beaten their way out from New York City. The ! I -- ã ð :i , k ".., '" IMPORTED BY PARK, BENZIGER & CO. INC. NEW YORK "-t- '/; j' ''k ,J.. , . ""^ ""'- .. . rl ASTON de LAGRANGE 84 PROOF